Drawing Studio

Code:

ED1

Acronym:

ED

Keywords
Classification	Keyword
CORDIS	Drawing

Instance: 2021/2022 - A

Active?	Yes
Responsible unit:	Desenho
Course/CS Responsible:	Master in Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
MAP	3	Plano de Estudos do MAP_Publicação em DR de 31 de agosto de 2020	1	-	30	120	810

Teaching language

Suitable for English-speaking students

Objectives

OBJECTIVES:
1. Consolidation of an art-based research based on drawing and its functions in contemporary culture.
2. Development of a rigorous, critical and contextualized reflection of the concerns underlying the student's practice-based research.
3. To introduce and strengthen technical and procedural skills related to the procedures of drawing and printmaking, enhancing the itechnical skills of each student.
4. Develop research practice based research methodologies based odrawing and printmaking procedures.

Learning outcomes and competences

Capacity for developing and publicly present creative research relevant in the field of drawing, documented by a portfolio.

Capacity of a rigorous, critical and situated approach to the underlying assumptions of the creative research project, showing a contextual understanding of the most significant debates that shape the field of practice and theory of drawing.

Competences in the communication of the theoretical context and methodological organization underlying the creative research project. 

Working method

Presencial

Pre-requirements (prior knowledge) and co-requirements (common knowledge)

Knowledge of the means, tecniques, procedures, concepts, theory and history of art at the level of a first cycle of studies.

Artistic and professional experience in drawing and printmaking processes.

Program

Drawing is today a culturally open and complex practice crossing a variety of means and areas of knowledge. It is also a particular space of action and thought in the field of practice and research in and design, for the singularity of its communicative, ideational and performative processes. The Studio-Workshop is a theoretical and practical space for the elaboration and development of individual creative research proposals in the field of drawing and printmaking, in all the contemporary diversity of its forms, means of expression and purposes. Its program is individually oriented, thus allowing students to develop their motivations into a creative research, contextualized in contemporary debates on drawing. The public exhibition of the work and the presentation and discussion of the portfolio are the basis of a reflective practice where the student’s methodological and conceptual frameworks are contextualized  

During the course the following contents will be adressed:

Drawing, printmaking and creative research - Elaboration of a creative research project within the fields of drawing and printmaking practices: acting and thinking through drawing; the liminal zones of drawing and printmaking in contemporary culture.

Models for the production of a portfolio structuring the creative and research process underlying the studio practice.

Strategies for contextual review of the ongoing research project.

The stages of drawing: from the archive to the exhibition; from situated drawings to publication.

Mandatory literature

Garner Steve 340; Writing on drawing. ISBN: 978-1-84150-200-7
Downs Simon 340; Drawing now. ISBN: 978-1-84511-533-3
Didi-Huberman Georges; Atlas
Bourdieu, Pierre; The Logic of Practice, Stanford, 1990
SAVAGE, Jim (ed); Drawing Texts., Occasional Press
HOLLY, Michael Ann (ed.); What Is Research in the Visual Arts?: Obsession, Archive, Encounter, Encounter. Williamstown, Massachusetts: Clark Art Institute, 2009
GROUPE DE RECHERCHES ESTHÉTIQUES DU C.N.R.S.; Recherches Poïetiques., T. I. Paris, 1974
Petherbridge Deanna; The^primacy of drawing. ISBN: 978-0-300-12646-4
SULLIVAN, Graeme ; Art Practice as Research. , London: Sage Publications. , 2005
ROSAND, David ; Drawing Acts: Studies in Graphic Expression and Representation, Cambridge: Cambridge University Press, 2002
SAWDON, Phil; MARSHAL, Russel (eds.) ; Hyperdrawing: Beyond the Lines of Contemporary Art. , London: I.B. Tauris , 2012
ZEGHER, Catherine de ; The Stage of Drawing: Gesture and Act., New York: Tate Publishing and The Drawing Center , 2003

Teaching methods and learning activities

Practice-based and theoretical teaching:

Individual and collective advising

Weekly discussion of the creative research projects and peer review

Presentations "viva voce"

Public Exhibitions of the work

Drawing and Printmaking Workshops

The students evaluation is based on the development of the creative research project, in a continuous way, in the studio; on the participation in colective discussions around their own work and their colleagues' work; on the first semestre and final exhibition of the work, project book and critical written report. The exhibitions final presentation and project-book constitute 70% of the final grade. The critical report constitutes 30%.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	70,00
Trabalho escrito	30,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	525,00
Frequência das aulas	60,00
Trabalho de investigação	125,00
Trabalho escrito	100,00
Total:	810,00

Eligibility for exams

Development of the creative research project, assiduously, in the studio.
Students' participation in the collective discussions about their own work and the work of its peers.
First semestre and final presentation of the work, Project-Book and Critical Report.

Calculation formula of final grade

Semestral and final exhibition of the creative research project, documented by a Project-Book: 70% (Project 50%, Exhibitions 10%; Project Book: 10%).
Critical Report (Written exegesis 25%; viva voce 5%)